Chicago Tribune's Scores

For 7,613 reviews, this publication has graded:
  • 62% higher than the average critic
  • 2% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 1.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Autumn Tale
Lowest review score: 0 Car 54, Where Are You?
Score distribution:
7613 movie reviews
  1. An overblown clunker full of bad jokes, howling cliches and by-the-numbers action sequences.
  2. Despite the deftness with which Bigelow handles the transitions, the modern story never attains the intrigue and tension of the period tale.
  3. Revives the art of smart, scathing movie conversation as it skewers Manhattan's singles scene while providing a goodly number of laughs. Like its subject, the movie may have its prickly moments, but it's awfully fun to watch.
  4. Its jokes aren't funny. Its sloppy direction comes courtesy of Jordan Brady, who made "The Third Wheel," another reportedly failed comedy gathering cobwebs at Miramax.
  5. Demme gets a lot of flavor and spice into his "Charade" remake, but he can't disguise that he's spiffing up leftovers that aren't so substantial or fresh.
  6. The film seems a mad mix of staid PBS bio-drama, flamboyant musical comedy and surreal cartoon nightmare.
    • 54 Metascore
    • 50 Critic Score
    Like the film itself, Jim Doyle is smart enough to be engaging and lovely to look at, but he's too one-dimensional to be satisfying.
  7. It's good, hard-edged stuff, violent and a bit exploitative but also nicely done, morally alert and street-smart.
  8. The acting in All or Nothing is superb. Everyone creates a character we can immediately register and recognize as true.
  9. The British intelligence operation at Bletchley Park that cracked the Enigma code is truly the stuff of great drama. But that story doesn't offer Matt LeBlanc in a wig and heels.
  10. An adequate horror movie for the Halloween season, but it too easily sinks into haunted-house-film conventions, even if the haunted house is decked out as an Italian luxury liner.
  11. The film has many strengths, but one of its major assets is its solid sight line. Though we might expect it to go sentimental - with its cute cat, torn families and sympathetic, pretty protagonists - it doesn't.
  12. De Broca never develops the transforming love onscreen and ends up with an awkward and indigestible movie.
  13. The biggest surprise may be what the filmmaker doesn't show; he withholds a big dramatic payoff, so the audience must fill in the blanks.
  14. There are better holocaust dramas than Grey Zone -- "Schindler's List" for one, and due later this year, Roman Polanski's magnificent "The Pianist." But few will disturb you like The Grey Zone -- mostly because it won't try for tears.
  15. It's a warmly realistic comedy-drama that pulls you right into its lively, well-drawn L.A. milieu.
  16. It's a movie that puts Samuel Jackson in kilts, Robert Carlyle in a red Jaguar, and the audience -- if they have any sense at all -- out in the lobby, looking for another picture.
  17. The film is a disturbing and frighteningly evocative assembly of imagery and hypnotic music.
  18. Skates over depravity when, like Crane, it should have dug down deeper.
  19. Ends up a few frames short of the perfect horror film, but very few.
  20. This is the debut feature for Columbia College graduate Gilio, and it shows great promise.
  21. Some of its parts are nifty, but the sum of these parts is nothing.
  22. Moore's best movie, and one of the most blisteringly effective polemics and documentaries ever.
  23. This is one of those films that encapsulate most of its maker's key thoughts and feelings while also connecting us vividly to a fascinating past. No one who loves French film (or movies in general) should miss it.
  24. A film that comes close to re-creating the funny-but-serious environment of stand-up comedy.
  25. One hopes that this is Hollywood's last go-round with Swept Away. Watching this fiasco, I kept having nightmares about a possible cartoon version, co-starring Cruella de Vil and Shrek.
  26. The whole film, in fact, seems too fast for its own good. It plays like a synopsis, jumping from scene to scene, grief to grief, and it doesn't let us relax into the various worlds it's creating.
  27. An Adam Sandler movie with class, and if that sounds like an oxymoron, so be it. The movie is a happy nightmare of silly-smart movie comedy that defies category - and challenges expectations involving Sandler and his pictures.
  28. There's nothing original about the father-son conflict that forms the core of the film, nor is there enough suspense and drama.
  29. Surprising less moldy and trite than the last two.

Top Trailers